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some point in it where another breath may be taken without too greatly marring the continuity of the text. Sometimes in a large chorus various sections of a division may take breath at different points, thus preserving the integrity of the phrase in certain cases where this is particularly desirable. It should be noted that when a breath is taken in the middle of a phrase or between the phrases where no rest occurs, the time for breathing must always be taken from the last note of the _preceding_ phrase, in order that the continuity of the rhythm may not be sacrificed. The importance of studying phrasing from the standpoint of the effective rendition of sacred music will be realized more vividly if one takes the trouble to inquire of some of the members of the congregation how well they understood the words of the anthem or solo. The replies that will ordinarily be given to such a question will probably astonish the director of the church choir; and although he will sometimes be inclined to put the blame on the ears and minds of the congregation, there is no doubt that in very many cases the difficulty may be traced to poor enunciation and faulty phrasing on the part of the singers. The following examples are reported to be authentic instances of phrasing by church choirs: Jesus lives no longer now, Can thy terrors, Death, appall us? The poet had quite a different thought in mind when he penned these words, with the correct punctuation marks: Jesus lives! no longer now Can thy terrors, Death, appall us! The wild winds hushed the angry deep, Sank like a little child to sleep. What this verse means is, of course, easily seen by inserting the correct punctuation marks: The wild winds hushed; the angry deep Sank like a little child to sleep. [Sidenote: PHRASING IN INSTRUMENTAL MUSIC] In instrumental music we have no definite ideas and no concrete imagery to guide us; and the conductor, in company with all other students of instrumental music, will find it necessary to study his score most carefully if he is to unravel the threads that are woven together in such complex fashion in orchestral music. As implied above, phrasing in instrumental music means: 1. The grouping together of tones that belong to the same musical thought, this implying a slight break in continuity between phrases, as in language. 2. Making evident the musical signifi
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